Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Netherlands and from Columbus.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1961 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Bologna.
I'm losing my edge to the art-school Glasgow kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1971 at the first Selda practice in a loft in Istanbul.
I was working on the harpsichord sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Nick Fraelich to the rock kids.
I played it at the Troubador.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Mandrill. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Kevin Saunderson record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sisters of Mercy,
Subhumans,
Michelle Simonal,
X-102,
R.M.O.,
The Last Poets,
Eric Dolphy,
The Grass Roots,
Deutsch Amerikanische Freundschaft,
Groovy Waters,
The West Coast Pop Art Experimental Band,
Eve St. Jones,
The Mighty Diamonds,
The Fire Engines,
The Red Krayola,
Sonny Sharrock,
Dawn Penn,
the Sonics,
Gang Green,
OOIOO,
Model 500,
The Modern Lovers,
Pagans,
Sad Lovers and Giants,
Eli Mardock,
Pole,
Dead Boys,
Ornette Coleman,
Mars,
Parry Music,
Bauhaus,
Basic Channel,
Monolake,
The Victims,
Fifty Foot Hose,
Underground Resistance,
Black Pus,
Gang Gang Dance,
The Raincoats,
Pharaoh Sanders and the Fire Engines,
Sun City Girls,
Accadde A,
Index,
the Human League,
Gichy Dan,
Skarface,
The Alarm Clocks,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Organ,
Cheater Slicks,
Rahsaan Roland Kirk,
Joyce Sims,
Skriet,
Unrelated Segments,
Glambeats Corp.,
Harmonia,
Grauzone,
The Flesh Eaters,
Robert Hood,
The Men They Couldn't Hang,
Lalann,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.